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When the socialist politician Salvador Allende dramatically won Chile’s presidential election in 1970, a powerful cultural movement accompanied him to power. Folk singers emerged at the forefront, proving that music could help forge the birth of a new society. As the CIA actively funded opposition media against Allende during his campaign, the New Chilean Song Movement rose to prominence, viscerally persuading voters with its music. Víctor Jara, a central protagonist at the time, became an icon in Chile, Latin America, and beyond for his revolutionary lyrics and life. Inti-Illimani, Quilapayún, and other musicians contributed by singing before audiences of workers outside factories or campesinos in Chile’s rural countryside.

A short cultural history, “Venceremos“ charts the development of the movement from the years before Allende’s victorious campaign to the brutal U.S.-backed military coup on September 11, 1973, that overthrew his presidency and imposed the dictatorship of General Augusto Pinochet. Featuring interviews from key figures and lyrical analysis, “Venceremos“ gives insight into how the New Chilean Song Movement’s revolutionary anthems came to be.

From the early folkloric documentation of Violeta Parra in Chile’s countryside to “Venceremos,“ the triumphant anthem of Allende’s Popular Unity Coalition, the music of Chile’s Nueva Canción was shaped by the larger history occurring all around it. Within the songs, all the hopes, dreams and apprehensions of the nation were reflected. At the same time, as its influence grew, the cultural movement claimed its own principal space as catalyst of not only Chile’s musical but its political future as well. So dangerous were its creations that the Pinochet dictatorship censored and attempted to destroy them. Most tragically, Víctor Jara’s life was taken in the bloody repression that immediately followed the coup.

A 60-page illustrated guide to the daily misery, stress, boredom, and alienation of restaurant work, as well as the ways restaurant workers fight against it. Drawing on a range of anticapitalist ideas as well as a heaping plate of personal experience, it is part analysis and part call-to-arms.

Clamor magazine was a movement publication that existed between 2000 and 2006, covering radical politics, culture, and activism. Clamor published 38 issues and featured over 1,000 different writers and artists. The mission statement was:

Clamor is a quarterly print magazine and online community of radical thought, art, and action. An iconoclast among its peers, Clamor was an unabashed celebration of self-determination, creativity, and shit-stirring. Clamor publishes content of, by, for, and with marginalized communities. From the kitchen table to shop floor, the barrio to the playground, the barbershop to the student center, it’s old school meets new school in a battle for a better tomorrow. Clamor is a do-it-yourself guide to everyday revolution.

This analysis is presented as a case study on how movement projects and organizations deal with vital but rarely discussed issues such as management, sustainability, ownership, structure, finance, decision making, power, diversity, and vision.

Inform yourself! Inform on your neighbor!

Follow Special Agent Christian White on a cheerfully creepy tour of declassified government surveillance documents. White probes the redacted (blacked-out) texts of the FBI’s notorious Counterintelligence Programs, searching for the words erased in the name of the Freedom of Information Act.

Learn fun techniques for the infiltration of activist groups, how to earn benefits and a pension as an agent provocateur, and how to, in the words of J. Edgar Hoover, “expose, disrupt, misdirect, discredit or otherwise neutralize” your neighbors!

These are our tax dollars at work, folks; we might as well enjoy it.

This script has been performed by writer/activist L.M. Bogad in theatres, galleries, labor halls, and community centers for the past twelve years. The pamphlet also includes a preface by Guillermo Gómez-Peña, and a companion essay by Bogad about the history of domestic surveillance/harassment, and a “how to” for would-be performers of the script.

Back by popular demand, this new Second Edition adds photos of the original COINTELPRO documents used in the show. There are also many updates to the script: more information, more character development, and more and better jokes, all in the darkly humorous style of the original.

In 1970 a small group of West German revolutionaries decided to go underground, set up safe houses, and learn the skills of the urban guerilla. They were the Red Army Faction.

Seven years later, almost all of the original combatants were in prison or dead, yet, through their example, they had inspired a militant and illegal support movement, comrades willing to take up arms in defense of the prisoners.

1977 was to be a year of reckoning. Through daring attacks and devastating errors, the West German guerilla brought their society to the brink, mounting one of the most desperate and incredible campaigns of asymmetrical warfare ever waged in postwar Europe. That they failed is no excuse to not learn their story, to see who they were and what they fought for—and, most tragically, to bear witness to the lengths the state would go to silence them. This pamphlet is our very modest introduction to this story.

The battles between Michael Bakunin and Karl Marx in the First International (aka the International Working Men's Association, 1864–1876) began a pattern of polemics and rancor between anarchists and Marxists that still exists today. Outlining the profound similarities between Bakunin and Marx in their early lives and careers as activists, Mark Leier suggests that the differences have often been exaggerated and have prevented activists from learning useful lessons about creating vibrant movements.

This work by Bartolomeo Vanzetti, edited and with a detailed introduction by Jon Curley, features a never-before-published short story by this famous anarchist and victim of legal persecution, xenophobia, and condemnation for his radical politics. That fact that Vanzetti, an Italian immigrant, learned to write in English while jailed for a capital crime is remarkable enough. What is even more astonishing is that he chose to use his new language skills to write creatively, inventing a parable about worker exploitation and environmental disaster that is as relevant today as it was almost one hundred years ago when this prisoner took up his pen.

“Events and Victims” allows Vanzetti a new literary and historical voice, an important document that narrates the very injustice that its author suffered and fought. In a time of assault on immigrants, dissidents, radicals, and the environment, “Events and Victims” is as timely as ever.

Executed by a British firing squad on May 12, 1916, for his role in organizing the Easter Rising, James Connolly was one of the most prominent radical organizers and agitators of his day. Born in Scotland in 1868 to Irish immigrant parents, Connolly spent most of his adult life organizing for labor unions and socialist organizations in Ireland, Scotland, and the United States. Despite attending school for only a few years, Connolly became a leading socialist writer and theoretician, founding and editing newspapers including The Socialist (Scotland), The Harp (United States), and The Workers’ Republic (Ireland). As a labor organizer, Connolly stressed the importance of direct action, broad working-class unity, and a commitment to ending labor’s exploitation. As a socialist agitator, Connolly saw economic and political independence as inextricably intertwined. This pamphlet, the first graphic treatment of Connolly’s life, is issued on the centenary of the Easter Rising.

Heart X-rays is a twenty-first-century beat epic poem that ranges across landscapes and voices, with appearances by Banksy, Pussy Riot, hip-hop, the down and out, the up and coming, heartbreak and joybreak, while exploring the mystery we call the human heart.

Now in its second printing, Heart X-rays offers poetry that strikes a cord today with non-traditional style and timeless poetic craft.

If indeed poetry can offer an RX, a prescription to the bloody joyful teary-eyed American paradox, it is one that calls forth all the voices that have not yet been heard, that harbors an innocence that reaches into the very heart of our own excellence. A collaborative work between two poets and working-class activists, Heart X-rays is a poetic memory of today written in the alphabet of a future.

A RADICAL LABOR CLASSIC

Undoubtedly the most popular book in American labor history, the I.W.W.’s Little Red Song Book has been a staple item on picket lines and at other workers’ gatherings for generations, and has gone through numerous editions.

As a result of I.W.W. efforts to keep up with the times, however, recent versions of the songbook have omitted most of the old-time favorites, especially the raucous lyrics of the free-spirited hoboes who made up such a large portion of the union’s membership in its heyday. For example, recent versions have left out all but a few of the celebrated songs of Joe Hill, T-Bone Slim, Ralph Chaplin, and other pioneer bards of the One Big Union—and many of the few remaining older songs have been abridged or otherwise modified.

The steadily mounting interest in Wobbly history and culture warrants this facsimile edition of a classic Little Red Song Book from the union’s Golden Age. Reprinted here is the Nineteenth Edition, originally issued in 1923, the year the I.W.W. reached its peak membership.

Of the fifty-two songs in this book, the overwhelming majority have not been included in the I.W.W.’s own songbooks for many years. Here are such classics as Joe Hill’s “John Golden and the Lawrence Strike,” “We Will Sing One Song,” “Scissor Bill,” “The Tramp,” and others; T-Bone Slim’s “I’m Too Old to Be a Scab,” “Mysteries of a Hobo’s Life,” “I Wanna Free Miss Liberty,” and others; Ralph Chaplin’s “All Hell Can’t Stop Us,” “Up from Your Knees,” “May Day Song,” and more; and other songs by C.G. Allen, Richard Brazier, Pat Brennan, James Connolly, Laura Payne Emerson, and many others.

Ninety years ago these songs were sung with gusto in Wobbly halls and hobo jungles from Brooklyn to San Pedro. And they’re still fun to sing today!

Peter Linebaugh, in an extraordinary historical and literary tour de force, enlists the anonymous and scorned 19th century loom-breakers of the English midlands into the front ranks of an international, polyglot, many-colored crew of commoners resisting dispossession in the dawn of capitalist modernity.

Humanity stands at the brink of global environmental and economic collapse. We have pinned our future to an economic system that centralizes power in fewer and fewer hands, and whose benefits increasingly flow to smaller and smaller numbers of people. Our system of government is similarly medieval—relying on a 1780s constitutional form of government written to guarantee the exploitation of the natural environment and elevate “the endless production of more” over the rights of people, nature, and their communities.

But right now, people within the community rights movement aren’t waiting for power brokers to fix the system. They’re beginning to envision a new sustainability constitution by adopting new laws at the local level that are forcing those ideas upward into the state and national ones. In doing so, they are directly challenging the basic operating system of this country—one which currently elevates corporate “rights” above the rights of people, nature, and their communities—and changing it into one which recognizes a right to local, community self-government that cannot be overridden by corporations, or by governments wielded by corporate interests.

This short primer from the Community Environmental Legal Defense Fund explores and describes the philosophy and underpinnings of the community rights movement that has emerged in the United States­—a movement of nonviolent civil disobedience based on municipal lawmaking.

Organizing Cools the Planet offers a challenge to all concerned about the ecological crisis: find your frontline. This booklet weaves together stories, analysis, organizing tools, and provocative questions, to offer a snapshot of the North American Climate Justice movement and provide pathways for readers to participate in it. Authors share hard lessons learned, reflect on strategy, and grapple with the challenges of their roles as organizers who do not come from “frontline communities” but work to build a movement big enough for everyone and led by the priorities and solutions of low-income people, communities of color, Indigenous, youth, and other constituencies most directly impacted by the crisis. Rooted in the authors’ experiences organizing in local, national, and international arenas, they challenge readers to look at the scale of ecological collapse with open eyes, without falling prey to disempowering doomsday narratives. This booklet is for anyone who wants to build a movement with the resiliency to navigate one of the most rapid transitions in human history.

Bang. The door to your cell is shut. You have survived the arrest, you are mad that you weren’t more careful, you worry that they will get others too, you wonder what will happen to your group and whether a lawyer has been called yet—of course you show none of this. The weapon, the fake papers, your own clothes, all gone. The prison garb and the shoes they’ve thrown at you are too big—maybe because they want to play silly games with you, maybe because they really blow “terrorists” out of proportion in their minds—and the control over your own appearance taken out of your hands. You look around, trying to get an understanding of where you’ll spend the next few years of your life.

Prison Round Trip was first published in German in 2003 as “Einmal Knast und zurück.” The essay’s author, Klaus Viehmann, had been released from prison ten years earlier, after completing a 15-year sentence for his involvement in urban guerilla activities in Germany in the 1970s. The essay was subsequently reprinted in various forums. It is a reflection on prison life and on how to keep one’s sanity and political integrity within the hostile and oppressive prison environment; “survival strategies” are its central theme.

“Einmal Knast und zurück” soon found an audience extending beyond Germany’s borders. Thanks to translations by comrades and radical distribution networks, it has since been eagerly discussed amongst political prisoners from Spain to Greece. This is the first time the text is available to a wider English-speaking audience.

“Klaus’s take on survival strategy tells us we can not only survive thusly but can as well continue to serve the cause of liberation—which are really the same thing. We can be captured without giving in or giving up.” —From the Preface by North American political prisoner Bill Dunne

The prison business in the US is not based on locking up, punishing, or rehabilitating dangerous hoodlums. Follow the money and find how the prison-industrial complex fits into the New World Order of free trade and imprisoned people, the war on drugs, and capital flight.

Radicals, feminists, environmentalists. Activists for animal rights, human rights, civil rights. There are plenty of rebels and dissidents putting their asses on the line. Conversely, there's never been a shortage of reactionaries seeking to repress such vision and passion.

Learning how to fight and/or defend yourself is not the same as promoting belligerent, anti-social behavior. While talk of non-violence is understandable and the struggle for peace has never been more essential, let's face it: The odds are that sooner or later you're going to end up in a confrontation that may escalate into physical violence. So, why not be prepared?

Self-Defense for Radicals will get you off and running in the right direction. From eye gouges to groin punches—you'll find a powerful collection of tactics with which we can fight back. Interspersed with words of wisdom and guidance from Emma Goldman, Bruce Lee, Angela Davis, and even Patrick Swayze, this pocket-sized pamphlet will inspire readers to not only speak truth to power but also deliver a sharp elbow to power's jutting jaw.

Presented in the street-smart style we've come to expect from Mickey Z., Self-Defense for Radicals dares you to re-examine what we perceive as acceptable behavior—both by the oppressors and the revolutionaries.

Simultaneous Revolutions offers a meeting place for individual expression in this plague year where, forced to look within and stay afar, people can do both with these companion poems. With poems about Bob Dylan, contemporary singer Grimes, the Clash, Dolores O’Riordan of the Cranberries, Allen Ginsberg, and also featuring voices from warehouse rave to the ignored alley, from the blurry highway to a couple’s river-walk to a calm man’s tilling, these poems offer a provocative panorama of our both ancient and neon times.

Headed down the wounded highway
like a nurse on the same road,
don’t know what the banners say today,
but sense the ill from the good.
—from “Soulphone Ringing”

Who hasn’t traveled the revolutions of living? What would that map look like, as varied people chart their own ways to harbor? Find out by checking out Simultaneous Revolutions. From the Lower East Side to the Lehigh River Gorge, from Standing Rock to Chesapeake Bay, from St. Louis to Vermont to San Francisco, Simultaneous Revolutions stands exactly at the broad confluence of a hundred nourishing, wild, wounded rivers—coming together—flowing to a gathering of power, becoming one.

Succinct and to the point, David Rovics demystifies the very different skills necessary to cultivate the arts of songwriting, guitar-playing and tour booking. In an era when the truly independent record label is virtually a thing of the past, Rovics explains how it’s possible to make a living as a recording artist without a label. At a time when the corporate record industry is suing music fans for sharing music, Rovics explains why the internet is good for independent artists, and how to utilize its potential. For those hoping to get a major record deal and become rich and famous, look elsewhere. But if you’re looking to make a living as an independent artist, this pamphlet is a must-read.

“For my parents and grandparents, Jewish identity, in religion, culture and language, was a given. Not so for me. I’m not religious, not a Zionist, so in what consists my Jewishness? Is a love of chopped liver and a belief that chicken soup cures all ills enough? And does it matter? This is the story of my search for answers. It is an argument with myself, with song lyrics to embellish the argument.”

Like so many of those others in Britain of Jewish lineage, songwriter and award-winning folk singer Leon Rosselson is descended from antecedents who fled pogroms in eastern Europe. Pertinently, he questions what being a Jew means—is it adherence to Judaism as a religion, an ethnicity, a citizen of Israel, or someone who eats “chicken soup with knedlach”? He describes clearly and with historical insight how any concept of “Jewishness” can involve all of those things and more. In his own life, he has decided to pick and choose from this tradition and history and build on what he deems to be the progressive, humane, and universalist values of that Jewish background.

Rosselson is a strong supporter of Palestinian rights, seeing in the victimization of Palestinians by the state of Israel parallels with historical Jewish persecution. He concludes this short essay by stating: “I share with the growing number of Jews in the diaspora who place solidarity with the oppressed above demands of tribalism and with those in Israel who dare to stand against the powers that be.”

This unique comic by Milton Knight illuminates the early years of C.L.R. James (1901–1989), known in much later years as the “last great Pan-Africanist.” The son of a provincial school administrator in British-governed Trinidad, James disappointed his family by embracing the culture and passions of the colonial underclass, Carnival and cricket. He joined the literary avant-garde of the island before leaving for Britain. In the UK, James swiftly became a beloved cricket journalist, playwright for his close friend Paul Robeson, and a pathbreaking scholar of black history with The Black Jacobins (1938), the first history of the Haitian revolt.

The artistic skills of Milton Knight, at once acute and provocative, bring out James’s unique personality, how it arose, and how he became a world figure.